Top 1200 Old Songs Quotes & Sayings - Page 3

I am so lucky that I have been part of and written songs that will always resonate no matter how old they get.

I love listening a lot and I listen to all sorts of songs, old and new. But the real inspiration has to come from within.

I think the old school, back in the day, 10 to 15 years ago in music, is like you launch one single and you just let that ride out. Right now, you've got folks like Chris Brown, he just won't let up, he's got mixtape after mixtape, they're playing songs on the radio from the mixtape and then he's got songs on the album and videos and he's got remixes he's jumping on.

I think there's thousands of good songs in the world - the songs that we can all sing along to, songs that are just so catchy they end up being in your head. But I think a great song is something that emotionally engages with you and connects with you.

Kids know me from their Grease DVD, so they instantly respond. You can hear a pin drop when I do my old songs.

To reminisce with my old friends, a chance to share some memories, and play our songs again.

I'm excited about the old songs. That's a nice place to be after grinding out the music business for twenty years.

We're a live band. Some bands write their songs in the studio - we don't do that. We're playing songs on this tour that were written three days before the tour. And it feels good to try these songs.

I love to play guitar. I've been writing my own songs on the axe since I was nine years old. I suck at leads.

Old-school Dire Straits songs are on heavy rotation: 'So Far Away,' 'Romeo and Juliet' and of course 'Sultans of Swing.'

What I like about music is the songs you can remember the lines of in a single second. The Beatles, The Rolling Stones... You can remember every line to their songs. But today, how often do you remember any of the lines to songs? I mean, I know that one of the Lily Allen's last albums is called It's Not Me, It's You. But I don't know how the songs go.

I have been singing since I was two years old, my parents tell me, and started to write songs when I was fifteen. Eventually, my friends and my parents knew that this was something I liked to do. They also knew I had a dream of making my own album. They have always been encouraging me to do something about it, and so I did. So I went to a local radio station in Tromsø, and there I got to record a couple of songs.

I've always covered some Dylan songs. I do one or two. And I do them because they're great songs. You know some people cover songs they wish they could have written, not me. I like to cover songs I know I could not have ever written.

I've done songs with legends like De La Soul with Pete Rock. I've done songs with B.O.B. I've done songs with Big Kit.

The most entertaining songs don't always come from a nice place. In songs where I think I'm being really sensitive, they seem quite boring actually. I've found that the songs that come out of nastier, more misanthropic places are better.

I know it sounds weird for a 12-year-old to say that he wants to start writing songs, but that's what happened.

You can revisit - the wonderful thing about my job is you can revisit your 22-year-old self or your 24-year-old self any particular night you want. The songs pick up some extra resonance, I hope, but they're still - they're there, and I can revisit that period of my life when I choose. So it's quite a nice experience.

We went through this business of me writing out all the parts for these old songs from Gravity and Speechless and we'd been performing that, but we don't do that any more.

Liz [Gillies] doesn't really listen to anything new, besides Adele, Ariana Grande, and stuff like that. She loves '70s music and old '60s songs. She loves songwriters from the '70s that I hate, like Jim Croce and James Taylor, and she loves Stevie Nicks and old jazz classics.

My music is not a particular genre. It's not bubblegum or cheese. It's just good songs, pop songs. It's just my songs.

When I'm not touring, I sing at home, either at the piano or I'll pick up my guitar, singing old Buck Owens songs.

I have written quite a lot of songs about dealing with my feelings surrounding the disease. I have written songs about the fear and anxiety I have around my disease, and the fear of it coming back. Some of my songs might seem like relationship songs, but are more about my relationship with that struggle.

When I wrote those first songs for the Truckers, songs like 'Outfit' and 'Decoration Day,' those were strong songs, very strong songs. But had I been in the position of writing an entire album at that point in time, I don't think the whole album would have been of that kind of quality.

I like 'Bewitched' off the first album because it's one of the happiest songs I've ever written and, as any writer will tell you, happy songs are a million times more difficult to write than sad songs.

Certain songs by hearing the rhythm, it tells you that is either a love song or you might be heartbroken or the songs give you the vibes and you just know that certain songs are militant that you have to write.

I can not sing the old songs now! It is not that I deem them low, 'Tis that I can't remember how They go.

I listen to old songs and remember exactly where I was living and where I recorded it and how I wrote it, the girl I was dating at the time or whatever.

I started writing songs at eight. Heartbreak songs - don't ask me why. It was the stuff I used to hear, so I imitated it. I used to write songs about guys cheating. Could you imagine!

There are no leftover Tool songs because of the process it takes to compose our songs - the way we hash it out in a room with all three or four of us, that there's tons of riffs and jams and things. But there's no put-together songs that are sitting in the eaves.

When I was younger it was a lot of quantity over quality. Just writing, writing, writing. Hundreds of songs. Now it's fewer songs. If I write 10 songs I believe 80 percent of them are good and gonna be used.

I always wanted to sing English songs, ever since I was, like, 10 or 12 years old.

Except in these latter-day songs, [Bob] Dylan is a grizzled old prophet who's already been to hell and back.

On 'Heartbreaker,' I had to sing those songs. I drank the way I did those songs. I ate the way I did those songs. I communicated the way I did those songs. With 'Gold,' I was trying to prove something to myself. I wanted to invent a modern classic.

If she says goodbye perhaps adieu. Adieu - like those old time songs she sang. Always adieu (and all songs say it). If she too says it, or weeps, I'll take her in my arms, my lunatic. She's mad but mine, mine. What will I care for gods or devils or for Fate itself. If she smiles or weeps or both. For me.

Starting a band is the easy part. Once you've formed the band, you have to tell a story, and that story requires songs. And not just good songs, but great songs. After a while, great songs won't do - they have to be the best. Success doesn't make it any easier. Each time I start a new record, it's a brand-new search.

We call them impact songs, and people buy impact songs. But you just never know what those songs are going to be. One of those songs that really went through the roof for us was 'Big Green Tractor,' which I thought was kind of a fun little ditty song that I never in a million years thought would be as big as it was. But it was.

I love playing our older songs along with newer ones but If all I have is my old stuff, I quit. Creating is more rewarding.

Whenever we play new material, eventually some of the songs become classics themselves. They can't become that unless you play them. Any new song is not going to go down as well as some of the old stuff, because obviously the old stuff the fans know inside out.

Won't you help to sing these songs of freedom? 'Cause all I ever have… redemption songs; redemption songs.

When you play all that as a body of work there are four great songs, four mediocre songs and four bad songs. I didn't know it at the time; I was just doing my best.

I was never particularly a part of the following of tango; I just liked it... most of all, I recognized that the urban content and the approach seemed very familiar and very connected to the songs that I was doing, the kind of songs that I wanted to write - the songs about the street.

Over the years, I've heard pop artists do some Christmas songs, and I haven't fully cared for them. They weren't the traditional Christmas music that I was raised on and love. Thinking of that, I wanted to make my songs mimic the classic Christmas songs.

The rest of the songs on the album [Mortal City ] have spare arrangements on them. Steve [Miller], really loved that. He'd just come off of a project with someone who basically had to mask the fact that there were no songs there with production. He said, "Oh, my God, you have real songs here!"

See, I'm a Pisces, so I get down with love songs. I'm totally into slow jams and old-school R&B, all that.

There's so many different kinds of songs that could be pop songs. I don't think pop songs should sound the same.

From a very early age, I started to get really interested in how songs were put to tape. Not just listening to the songs, but the way the songs were recorded.

The LUMS Olympiad back 10 years ago gave me a boost to sing songs where I first met with amazing Uzair Jaswal who did not sing cover songs but his original songs.

I do sometimes go back to my old songs. Some I feel very proud of. They make me wonder, 'How did I do this?'

The time came around where the label was like, "Well, if you want something to come out in early 2017, it's going to have to be done by, like, so-and-so." So I plucked some of the old songs and wrote some new ones. Everybody keeps asking me, "Is this your L.A. record?" I was doing songs in a bedroom in New York, I was doing it in a bedroom in L.A. The only difference is when I look out the window, there's palm trees instead of snow.

The other songs [of Billie Holiday] - "Body and Soul" is like the standard - I also wanted some songs that I knew I would sound good on, as a producer. It's been the same nine songs since I debuted it back in 2012.

I haven´t written on piano since It Bites. You can tell my songs that I´ve written on piano with It Bites cause they all go like "wrooash", like Old Man And The Angel and Calling All The Heroes and songs like that. It all tends to happen very quickly, I get two thirds of the song within five minutes and then spend rest of the time trying to ruin it in my head, and then I go back to where I was from the beginning.

I'm very lucky that people are able to say, 'Oh, that's that Moody Blues guy!' I'm very fortunate with that. That's all. Without the songs, I think, I'd just be a pretty average karaoke singer. In the end, it comes down to the songs: the strength of the songs.

I feel a composer should not crave to sing songs because songs itself decides its voice. The films where I have given music, I have kept my option for the last. I like to make music and not necessarily singing all the songs.

I just do as many songs as I can and then I put it together when I get sort of in the middle, maybe 30 songs, that's when I start really thinking about the name of the cd and what direction all the songs are going, that kind of stuff. But I don't ever want to corner myself, I just want to be able to express whatever I can express in songs and just pick after that.

I'm definitely seeing more and more new people at shows, which is exciting. It's nice for me, because it's a fresh start. I don't feel as obligated to play old favorite songs - it feels like I'm free to try new things because I'm meeting people for the first time. But there's a lot of people who are showing up and they know all the words to the first album and they're requesting songs from the second album.

And when I've been away from my family and friends, I have felt good hearing some of those old songs.

Only sing - don't do cheap songs, don't do silly songs, just do, just do wonderful songs that are well-written.

In my culture we had songs for everything, and that's lost now. There were songs for when people were born, when they died, when they sowed the field, baked bread and they're gone now mostly. I think we need these songs today. One of the reasons people connect to Wardruna in such a personal way is because there is a need for these songs and for that kind of connection to the nameless. Call it nature, god whatever.

I cannot sing the old songs now! It is not that I deem them low, 'Tis that I can't remember how They go.

I've always been aware that probably writing songs - stupid songs or, at least, theatrical songs - is, I dunno, I certainly don't think about that, about my persona on stage. In fact, I work really hard not to address it too much in my head.